Interview: How THE GREAT GATSBY Became Broadway's New Big Spectacle

When The Great Gatsby announced a Broadway transfer following a short run at Paper Mill, the title alone generated buzz. F. Scott Fitzgerald’s novel has long been a staple of American literature, and various adaptations - from films to immersive experiences - have brought its roaring twenties aesthetic to life. But how do you turn a widely read title most people begrudgingly read in school into a Broadway blockbuster?

BroadwayWorld sat down with Sarah Hansen, Senior Vice President of Accounts & Client Strategy at SpotCo to discuss how Gatsby’s Broadway incarnation went from a regional hit to one of the season’s most talked-about shows.

Getting Started on Broadway

Hansen’s journey into Broadway marketing has a unique origin story. As a teenager, she participated in a focus group organized by Broadway advertising agency Serino Coyne. The experience opened her eyes to a side of the industry she hadn’t previously considered.

“I sat there the whole time thinking, ‘This is a job?’” she recalls. “They were showing us taglines, art concepts, and different marketing approaches. As someone who loved theater but wasn’t going to perform, I realized there were other ways to be involved.”

She started her career at Serino Coyne before joining SpotCo in 2016, working on productions including The Book of Mormon, Smash, MJ, The Humans and Hello, Dolly!

Broadway Stars Join the Mix

When The Great Gatsby was first announced for Paper Mill Playhouse, Hansen was already intrigued. “I grew up near Paper Mill Playhouse and have been a subscriber since I was a teenager,” she says. “So, when I saw Gatsby on their season lineup, I was excited.”

That excitement only grew when SpotCo got the call to work on the show. “When Paper Mill announced the casting of Jeremy Jordan and Eva Noblezada, ticket sales skyrocketed. It became one of the fastest-selling productions in Paper Mill history.”

As Broadway plans developed, one challenge became clear: Gatsby wasn’t the only adaptation in the works. Another Gatsby musical, developed separately, was also in the pipeline.

“Given the show is in the public domain, it’s not surprising there were other Gatbys” Hansen explains. “From the beginning, our Gatsby defined itself as a big, bold Broadway musical - grand costumes, a huge cast, and a lush orchestra. We knew exactly what we were.”

The marketing team had a unique advantage: The Great Gatsby is an instantly recognizable title. “You say ‘Gatsby’ and people immediately picture Leonardo DiCaprio raising a champagne glass or a lavish 1920s party,” Hansen notes. “That kind of immediate brand recognition is gold.”

From day one, SpotCo focused on visually communicating the scale and spectacle of the production. “We knew we had to show the show,” Hansen says. “At a time when many productions are scaling back, we wanted audiences to see that their ticket price was reflected on stage.”

Filming started early, even before Paper Mill’s run. “We didn’t have footage from Paper Mill, so we rented a mansion in Long Island and filmed a music video with Jeremy and Eva,” she says. “We needed to get the music out there – the lush score is key to the show’s identity.”

Once Gatsby hit Broadway, marketing efforts expanded. SpotCo collaborated with BroadwayWorld on initiatives like transforming on-site games into Gatsby-themed experiences and producing a content series highlighting different jobs in the production.

“BroadwayWorld has a strong online community, and their audience aligned with ours more than we initially realized,” Hansen says. “We developed a content plan that helped differentiate the show but still tied into the themes of the piece including red carpet sponsorships and sponsored content that explored the world of Gatsby.”

New Money - A Viral Sensation

Gatsby’s marketing momentum took an unexpected turn when a dance sequence from the lavish production number ‘New Money’ went viral on TikTok.

“A huge amount of credit goes to Katharine Quinn, who runs the show’s organic social media,” Hansen says. “She worked with influencers to keep the trend going, but it really took on a life of its own.”

When a second viral moment - Jeremy Jordan’s line “Today’s the day!” - started trending online and even got picked up by the Olympics, the marketing team took note. “We hadn’t been advertising much on TikTok, but after that, we realized we needed to be there,” Hansen says.

However, she notes that TikTok isn’t about direct conversions. “It’s more about awareness than immediate ticket sales. You can’t just throw up a commercial. The content has to feel native to the platform.”

BroadwayWorld & The Great Gatsby

BroadwayWorld and SpotCo have teamed up on several creative campaigns to further enhance The Great Gatsby's visibility. In addition to the Gatsby-themed online games and content series, the two companies worked together on interactive digital marketing initiatives designed to engage theater fans in unique ways.

“We were really excited about the partnership with BroadwayWorld because they brought creative, out-of-the-box ideas to the table,” Hansen shares. “For example, during the spring season, we sponsored red carpet coverage at major Broadway openings, aligning Gatsby with the excitement and glamour of Broadway’s biggest events.”

The collaboration also extended to educational outreach. “BroadwayWorld’s Next On Stage competition was a natural fit,” she adds. “We worked with them to provide sheet music and backing tracks for contestants, even before we had officially released them. “But our executive producer, Mark Shacket, is committed to speaking to students and supporting arts education, making it was an easy yes. It was a great way to connect with the next generation of Broadway performers while keeping Gatsby relevant.”

Long-Term Strategy

Jeremy Jordan and Eva Noblezada’s presence helped drive early sales, but as their contracts ended, the marketing strategy had to evolve. “We’ve been figuring out how much we lean on star casting versus selling the show itself,” Hansen says. “At first, the title alone brought people in, and the stars sealed the deal. With the new leads, Ryan McCartan and Sarah Hyland, we’re reaching different audiences. Sarah has a huge ABC TV following, while Ryan has Disney Channel and musical theater fans.”

The transition also led to strategic marketing shifts. “We had to decide what stays permanent in Times Square - do we always feature current leads, or do we let the production itself be the main focus?”

With Gatsby’s strong performance on Broadway, its future looks promising. The show’s success has led to a West End production and an upcoming U.S. tour.

For Hansen, planning isn’t just about the next six months - it’s about ensuring Gatsby remains relevant for years to come. “I’ve worked on long-runners like Phantom, Jersey Boys, and The Book of Mormon, so I know the challenge,” she says. “You have to keep it fresh. Some people need to be convinced to come back, while others may not have even realized the show was happening in year one.”

Additionally, Gatsby’s continued presence in school curriculums means an ongoing stream of new audiences. “Theater marketers always struggle with how to reach younger audiences,” Hansen says. “Gatsby is uniquely positioned because high school and college students are already engaged with the story.”

Buy Tickets to The Great Gatsby: A New Musical